Cutting in the Japanese Martial Arts

Students of the Japanese ken come across many types of cutting
motion along their journey. For the purposes of this inquiry, we can
distinguish as a starting point three broad types of cut: 1) the awase
cut used by Nishio Shoji sensei (1927-2005, 8th dan aikidoka, 8th dan
iaidoka, 7th dan karateka, and 5th judoka and jodoka) and Philippe
Cocconi (5th dan aikidoka, 4th dan iaidoka), 2) the small cut used by
kenjutsuka and students of kobudo-type ken wielding arts such as Suga
Toshiro (1950- , 7th dan aikidoka) and James Williams (Nami Ryu Aiki
Heiho), and 3) the big cut used by proponents, students and teachers of
Seitei Iai.

How then can one judge what constitutes a good cut if masters from
various budo backgrounds cut differently? Must the cuts be awase, small
or big?

In practice there is an infinite variety of cuts, depending on the
characteristics of the practitioner (skill, height, strength, speed,
experience, etc.), the characteristics of the weapon wielded (length,
weight, single or double edged, etc.) and the characteristics of the
combat situation (one on one, battlefield, multiple opponents, lots of
space, narrow space, armored or un-armored, type of arms wielded by the
opponent(s), etc).

As we are studying martial arts, our judging criteria must be entirely
practical. I suggest two criteria. First, a good cut must be able to
cut the target. Different targets require a differential use of power:
cutting the kesa and cutting the kote are different. More generally,
some cuts aims for flesh, others for flesh and bones, and others again
for armor, flesh and bones. A proper cut thus has both adequate power
and accuracy. Second, a good cut must make you win. It must be faster
than or at the same speed as the opponent, depending on the type of
tactic employed, whether it is awase (sen no sen) or not (go no sen or
sensen no sen). A proper cut thus has proper speed.

A cut can be judged on three different levels. First, on a technical
level, proper tenouchi ensures correct hasuji and a live kissaki; the
cut must be made with the whole body, using kokyu power; the body and
tenouchi must be used in a ju-go fashion, that is to say sequentially
soft and hard. Second, on a tactical level, the kenshi must select an
appropriate target, according to the situation; use proper footwork and
body position so that one always has advantage; and use adequate power.
Third, on a strategic level, the proper cut must be created (takemusu
aiki) by the analysis of the combat situation, which include the
various considerations aforementioned.

This brief analysis suggests kenshi should undertake a diversified
curriculum, including not only iaido waza, but also kenjutsu and
aikiken kumi tachi, as well as suemono-giri practice. Together, these
practices might help build enough power, accuracy, and speed, in
addition to the tactical and strategical wisdom necessary to prevail.
As to the three broad types of cut considered at the start of this
inquiry, they cannot be compared for they refer to different
categories: awase refers to rhythm and ma-ai; choosing between big or
small cuts is a trade-off between speed and power.